Francis Campbell Boileau Cadell R.S.A., R.S.W.

Sotheby's, 30 August 1988, lot 1088

The following condition report has been prepared by Hamish Dewar Ltd, 13 & 14 Mason's Yard, Duke Street, St James', London, SW1Y 6BU. STRUCTURAL CONDITION The artist's board is providing a secure and stable structural support. PAINT SURFACE Inspection under ultra-violet light shows small, scattered spots and lines of retouchings, predominantly along the lower horizontal framing edge with one retouching, measuring approximately 1cm. in diameter, on the pale tablecloth just above the signature. There are also very small spots in the lower right, just to the right of the vase and other very small scattered spots of inpainting. SUMMARY The painting would therefore appear to be in very good and stable condition, with minimal inpainting, and no further work is required.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Executed in the late 1920s Pink Roses, is a superb example of Cadell's mature work.  It shows the culmination of a developing style and technique which began following WWI.  The selection and placement of objects is of the highest order, with rich but harmonious geometric shapes, tones and juxtapositions; the angular fan against the smooth curvature of the cup and saucer, the austere weight of the miniature against the deft oriental decoration on the vase, all offset against the vibrant but natural beauty of the roses result in a perfectly balanced composition.

The almost architectural structure with powerful hatched brushstrokes and vibrant palette shows the influence Peploe had on Cadell's work at this time.  This in turn came from the long periods Peploe spent in Paris, absorbing the practices of the French avant-garde, in particular Cezanne's late still lifes and the work of the Fauves.

This affirmation of style did not go unnoticed; following the colourist exhibition held at the Leicester Galleries in 1923 the Daily Mail art critic observed Cadell '...has solidified his style.  All forms are stated with an assurance that carves conviction...' while the Sunday Observer reported that 'not a trace of the earlier Cadell is left...although his colour has lost none of its charm and harmonious brightness.'